Bibliography for MUSI20066 & MUSI30105: African American Music in the 20th Century

Adams, Kyle. (n.d.). Aspects of the Music/Text Relationship in Rap. Music Theory Online, 14(2). http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html

Amiri Baraka (LeRoi Jones). (1963). Blues people: Negro music in white America. W. Morrow.

Arzumanova, I. (20160702). The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies, 7(3). https://doi.org/10.1080/19392397.2016.1203613

Bertrand, M. T. (2005). Race, rock, and Elvis. University of Illinois Press.

Beyoncé in ‘Formation’: Entertainer, Activist, Both? - The New York Times. (n.d.). https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html

Brackett, D. (2005a). Chapter 19: The growing threat of Rhythm and Blues. In The pop, rock, and soul reader: histories and debates (pp. 76–80). Oxford University Press.

Brackett, D. (2005b). Chapter 24: Rock and roll meets the popular press. In The pop, rock, and soul reader: histories and debates. Oxford University Press.

Brackett, D. (2005c). Chapter 25: The Chicago Defender defends rock and roll. In The pop, rock, and soul reader: histories and debates. Oxford University Press.

Brackett, D. (2005d). Chapter 26: The music industry fight against rock ‘n’ roll. In The pop, rock, and soul reader: histories and debates (pp. 100–109). Oxford University Press.

Brooks, K. D., & Martin, K. L. (2019). The Lemonade reader: Beyoncé, black feminism and spirituality. Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015a). African American music: an introduction (Second edition). Routledge, Taylor & Francis Group.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015b). Chapter 1: The translated African Cultural and Musical Past. In African American music: an introduction (Second edition, pp. 3–22). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015c). Chapter 3: Secular Folk Music. In African American music: an introduction (Second edition, pp. 34–49). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015d). Chapter 4: Spirituals. In African American music: an introduction (Second edition, pp. 50–71). Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015e). Chapter 6: Ragtime. In African American music: an introduction (Second edition, pp. 97–118). Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015f). Chapter 7: Blues. In African American music: an introduction (Second edition, pp. 119–137). Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015g). Chapter 7: Rhythm and Blues/R&B. In African American music: an introduction (Second edition, pp. 239–276). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015h). Chapter 8: Art/Classical Music. In African American music: an introduction (Second edition, pp. 138–159). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015i). Chapter 9: Jazz. In African American music: an introduction (Second edition, pp. 163–188). Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015j). Chapter 11: Music Theater. In African American music: an introduction (Second edition, pp. 213–238). Routledge.

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015k). Chapter 14: Funk. In African American music: an introduction (Second edition, pp. 301–319). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015l). Chapter 15: Disco and House. In African American music: an introduction (Second edition, pp. 320–334). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337

Burnim, M. V., & Maultsby, P. K. (Eds.). (2015m). Chapter 17: Hip-hop and Rap. In African American music: an introduction (Second edition, pp. 354–390). Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371

Chang, J. (2007). Can’t stop won’t stop: a history of the hip-hop generation. Ebury.

Cockrell, D. (1997a). Demons of disorder: early blackface minstrels and their world (Vol. 8). Cambridge University Press.

Cockrell, D. (1997b). Demons of disorder: early blackface minstrels and their world (Vol. 8). Cambridge University Press.

Cooke, M., & Horn, D. (Eds.). (2003). The Cambridge Companion to Jazz. Cambridge University Press. https://doi.org/10.1017/CCOL9780521663205

Danielsen, A. (2006). Chapter 5: The Downbeat in Anticipation. In Presence and pleasure: the funk grooves of James Brown and Parliament. Wesleyan University Press.

David Brackett. (1992). James Brown’s ‘Superbad’ and the Double-Voiced Utterance. Popular Music, 11(3), 309–324. http://www.jstor.org/stable/931312

Dery, M. (Ed.). (1994). Black to the Future. In Flame wars: the discourse of cyberculture (pp. 179–222). Duke University Press.

Edgar, A. N. (2019). ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist Media Studies, 19(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038

Eshun, K. (1998). More brilliant than the sun: adventures in sonic fiction. Quartet Books. https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf

Eshun, K. (2003). Further Considerations of Afrofuturism. CR: The New Centennial Review, 3(2), 287–302. https://doi.org/10.1353/ncr.2003.0021

Floyd, S. A. (1995a). Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. In The Power of Black Music. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Floyd, S. A. (1995b). Chapter 4: African-American Modernism, Signifyin(g) and Black Music [Electronic resource]. In The power of black music: interpreting its history from Africa to the United States. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Floyd, S. A. (1995c). Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. In The Power of Black Music. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Floyd, S. A. (1995d). Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. In The Power of Black Music. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Floyd, S. A. (1995e). Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. In The Power of Black Music. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Floyd, S. A. (1995f). Introduction. In The Power of Black Music. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

Forman, M., & Neal, M. A. (2012). That’s the joint!: the hip-hop studies reader (2nd ed). Routledge.

Frith, S., Straw, W., & Street, J. (Eds.). (2001). The Cambridge Companion to Pop and Rock. Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698

Gates, H. L. (1988). The signifying monkey: a theory of African-American literary criticism [Electronic resource]. Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616

Hansen, K. A. (20170315). Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society, 40(2). https://doi.org/10.1080/03007766.2015.1104906

Harper, P. (20190101). BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society, 42(1). https://doi.org/10.1080/03007766.2019.1555895

Hess, M. (2005). Hip-hop Realness and the White Performer. Critical Studies in Media Communication, 22(5), 372–389. https://doi.org/10.1080/07393180500342878

Hodeir, A., & Schuller, G. (20 C.E.). Ellington, Duke. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&result=3

How #BlackLivesMatter started a musical revolution. (2016). Guardian. https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest

Howland, J. (2009). Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. In ‘Ellington uptown’: Duke Ellington, James P. Johnson, & the birth of concert jazz. University of Michigan Press.

Ibrahim, A. (2015). Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs. https://doi.org/10.15781/T2763F

Jones, L. (2005). Blues People. In The pop, rock, and soul reader: histories and debates (pp. 18–25). Oxford University Press.

Kajikawa, L. (2015). Sounding race in rap songs (First edition). University of California Press.

Kooijman, J. (20190101). Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society, 42(1). https://doi.org/10.1080/03007766.2019.1555888

Krims, A. (2000). Rap music and the poetics of identity. Cambridge University Press.

Lordi, E. J. (2020). The meaning of soul: Black music and resilience since the 1960s. Duke University Press.

Lott, E. (2013). Love and theft: blackface minstrelsy and the American working class (20th-anniversary edition ed.). Oxford University Press.

Maultsby, P. K. (1983). Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture, 17(2), 51–60. https://doi.org/10.1111/j.0022-3840.1983.1702_51.x

Maultsby, P. K. (1990). Africanisms in African-American Music. In Africanisms in American culture. Indiana University Press.

Maultsby, P. K. (2015). Chapter 13: Soul. In M. V. Burnim & P. K. Maultsby (Eds.), African American music: an introduction (Second edition). Routledge, Taylor & Francis Group. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294

McClary, S. (2003). Bessie Smith: Thinking Blues. In The auditory culture reader (pp. 427–434). Berg.

Moving Beyond Pain — bell hooks Institute. (n.d.). http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain

Murchinson, G., & Parsons Smith, C. (n.d.). Still, William Grant. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&result=1

Murray Forman. (2000). ‘Represent’: Race, Space and Place in Rap Music. Popular Music, 19(1), 65–90. http://www.jstor.org/stable/853712

Naila Keleta-Mae. (2017). A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice, 38(1), 236-246 PDF. https://journals.msvu.ca/index.php/atlantis/article/view/3407

Nathalie Weidhase. (n.d.-a). ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies, 6(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448

Nathalie Weidhase. (n.d.-b). ‘Beyoncé feminism’ and the contestation of the black feminist body. Celebrity Studies, 6(1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448

Oakley, G. (1997). City Blues. In The devil’s music: a history of the blues (2nd ed). Da Capo Press.

Patrick, S. (20190403). Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies, 10(2). https://doi.org/10.1080/19392397.2018.1462721

Peterson, R. A. (1990). Why 1955? Explaining the Advent of Rock Music. Popular Music, 9(1). http://www.jstor.org/stable/852886

Price, E. G., Kernodle, T. L., & Maxile, H. J. (2011). Encyclopedia of African American music: Volume 1: A-G [Electronic resource]. ABC-CLIO. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092

Ramsey, G. P. & Columbia College (Chicago, Ill.). Center for Black Music Research. (2003). Race music: black cultures from behop to hip-hop (Vol. 7). University of California Press.

Rose, T. (1994). Black noise: rap music and black culture in contemporary America. Wesleyan University Press. https://bris.on.worldcat.org/oclc/610269566

Schloss, J. G. (2004). Making beats: the art of sample-based hip-hop. Wesleyan University Press.

Schuller, G. (1968). Origins. In Early jazz: its roots and musical development: Vol. v.1 (pp. 3–62). Oxford University Press.

Shank, B. (2001). From Rice to Ice: The Face of Race in Rock and Pop. In The Cambridge companion to pop and rock (pp. 256–271). Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.016

Small, C. (1998). Music of the common tongue: survival and celebration in African American music. Wesleyan University Press.

Smith, C. P. (2000). William Grant Still: a study in contradictions (Vol. 2). University of California Press.

Southern, E. (1997a). The music of black Americans: a history (3rd ed). W. W. Norton.

Southern, E. (1997b). The music of black Americans: a history (3rd ed). W. W. Norton.

Stan Hawkins. (1992). Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music, 11(3), 325–335. http://www.jstor.org/stable/931313

Strauss, N. (2005). Sampling is (A) Creative or (B) Theft? In The pop, rock, and soul reader: histories and debates (pp. 422–423). Oxford University Press.

Stuckey, S. (2014). Slave culture: nationalist theory and the foundations of black America (25th anniversary edition). Oxford University Press. https://bris.on.worldcat.org/oclc/870284452

Szwed, J. (1997). Chapter 2 - excerpts. In Space is the place: the lives and times of Sun Ra (pp. 64–73). Pantheon.

Taylor, T. D. (2000). His name was in Lights: Chuck Berry’s Johnny B. Goode. In Reading pop: approaches to textual analysis in popular music (pp. 163–182). Oxford University Press.

Tim Hughes. (2003). Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_

Trier-Bieniek, A. M. (Ed.). (2016). The Beyoncé effect: essays on sexuality, race and feminism. McFarland & Company, Inc., Publishers.

Wald, E. (2005). Escaping the Delta: Robert Johnson and the invention of the Blues. HarperCollins.

Walser, R. (1995). Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology, 39(2). https://doi.org/10.2307/924425

Week 6: Reading Week. (n.d.).

Williams, J. A. (2010). The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology, 27(4), 435–459. https://doi.org/10.1525/jm.2010.27.4.435

Williams, J. A. (Ed.). (2015). The Cambridge Companion to Hip-Hop. Cambridge University Press. https://doi.org/10.1017/CCO9781139775298

Zak III, A. J. (2004). Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society, 57(3), 599–644. https://doi.org/10.1525/jams.2004.57.3.599

Bibliography for MUSI20066 & MUSI30105: African American Music in the 20th Century BETA